Set in a pre-colonial African past, Tilai is about an illicit love affair and its consequences. Saga returns to his village after an extended absence to discover that his father has taken ... See full summary »

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Cast

Cast overview, first billed only:
Rasmané Ouédraogo ...
Saga (as Rasmane Ouedraogo)
Ina Cissé ...
Nogma
Roukietou Barry ...
Kuilga
Assane Ouedraogo ...
Kougri
Sibidou Sidibe ...
Poko
Moumouni Ouedraogo ...
Tenga
Mariam Barry ...
Bore
Seydou Ouédraogo ...
Nomenaba
Mariam Ouedraogo ...
Koudpoko
Daouda Porgo ...
Porgo
Kogre Warma ...
Maiga
Mamadou Ganame ...
Ganame
Noufou Ouédraogo ...
The child
Amade Ganame ...
Villager
Issaka Porgo ...
Villager
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Storyline

Set in a pre-colonial African past, Tilai is about an illicit love affair and its consequences. Saga returns to his village after an extended absence to discover that his father has taken Nogma, Saga's promised bride, for himself. Still in love with each other, the two begin an affair, although it would be considered incestuous. When the liaison is discovered, Saga's brother, Koudri, pretends to kill Saga for the honor of the family and village. Saga and Nogma flee to another village, but when Nogma's birth mother dies, he returns home. Having brought ruin on the family, Saga is shot by Koudri, who walks off into exile and probable death. Written by Don Larsson

Plot Summary | Add Synopsis

Genres:

Drama | Romance

Certificate:

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Details

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Release Date:

5 December 1990 (France)  »

Also Known As:

Niin sanoo laki  »

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User Reviews

 
'The Law'
8 January 2011 | by (United States) – See all my reviews

Burkina Faso may not be the most prominent country in any world atlas, but the tiny African nation has an eloquent spokesperson in director Idrissa Ouedraogo, who combines elements of folk tale and tribal myth in a remote, contemporary setting not far removed in spirit from the American Wild West. The story outlines the tragic fate of two lovers separated by circumstance and village custom on the eve of their wedding, when the groom's father decides to marry the bride himself in his son's absence. Some (not unexpected) stilted acting from the non-professional cast (mostly relatives of the director) is balanced against the uncluttered dramatic appeal of the scenario, downplayed even after the protagonists are driven by the local code of honor into incest, murder, and suicide (even the inevitable violent ending is relatively quiet).

The deliberate pace requires some adjustment, but it's a pleasure to watch a film not automatically made with the home entertainment market in mind, and the spare but handsome imagery is perfectly matched to a subtle, expressive jazz score by Abdullah Ibrahim. In its own undemonstrative way the film marks the emergence of a world-class director, still hard at work in his own backyard but poised on the brink of wider recognition.


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